Mental Canvas for Training and

Development: Creating Engaging,

Interactive Presentations Michael
Commini
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Michael Commini

Mental Canvas for Training and

Development
Creating Engaging, Interactive Presentations
Michael Commini
Santa Fe, NM, USA

ISBN 978-1-4842-8773-6 e-ISBN 978-1-4842-8774-3

https://doi.org/10.1007/978-1-4842-8774-3

© Michael Commini 2023

This work is subject to copyright. All rights are solely and exclusively
licensed by the Publisher, whether the whole or part of the material is
concerned, specifically the rights of translation, reprinting, reuse of
illustrations, recitation, broadcasting, reproduction on microfilms or in
any other physical way, and transmission or information storage and
retrieval, electronic adaptation, computer software, or by similar or
dissimilar methodology now known or hereafter developed.

The use of general descriptive names, registered names, trademarks,

service marks, etc. in this publication does not imply, even in the
absence of a specific statement, that such names are exempt from the
relevant protective laws and regulations and therefore free for general
use.

The publisher, the authors, and the editors are safe to assume that the
advice and information in this book are believed to be true and accurate
at the date of publication. Neither the publisher nor the authors or the
editors give a warranty, expressed or implied, with respect to the
material contained herein or for any errors or omissions that may have
been made. The publisher remains neutral with regard to jurisdictional
claims in published maps and institutional affiliations.

This Apress imprint is published by the registered company APress

Media, LLC, part of Springer Nature.
The registered company address is: 1 New York Plaza, New York, NY
10004, U.S.A.
This work is dedicated to the training and development professionals at
Saudi Aramco. The eight years I spent working with each of you gave me
new perspectives from which to engage those adult learners with whom I
was privileged to share my knowledge and experience.
Introduction
Since the beginning of time, mankind has used various methods to
communicate ideas and share knowledge. Hand signals, smoke signals,
flags, light, drawings – all technologies easily available to man down
through the ages. As we entered into the late 19th and early 20th
centuries, telegraph and telephone were added – for the first time using
the medium of electricity to remain in contact with those we loved and
to communicate with our peers!
As the 20th century progressed, so too did the technologies
available to us. Marconi invented the radio and Farnsworth the
electronic television. Both were used by the military to communicate
across vast distances. And both were used by educators to deliver
instructional content to listeners and viewers with varying degrees of
success. For example, most Americans are very familiar with the Public
Broadcasting Service (PBS) and the educational offerings available to
children – Sesame Street, The Electric Company, Reading Rainbow, and
Sid the Science Kid, just to name a few. As technologies continued to
advance, academics sought new ways to adapt that technology for the
educational benefit of children, teens, and adults.
And, of course, we never stopped learning about learning. We never
stopped investigating ways in which people transfer knowledge from
one individual to another. It is beyond the scope of this book to debate
whether people have learning “styles” or learning “preferences.” And
the theories of learning are many – from Pavlov and his theory of
behavioral conditioning to Piaget and his theory of cognitive
development, to Vygotsky and his theory of social development, new
observations and theories of how we learn appear every time a new
psychologist wants to make a name for herself.
One thing is clear. Whether you believe you are a visual learner, an
auditory learner, a kinesthetic learner, a logical learner, or some
combination of the currently propounded styles of learning, each
“style” can be used to enhance each other “style” and thus help in
knowledge transfer. That includes the visual arts.
Think back to when you were a child listening to your dad as he
read you a bedtime story. Did that book have pictures used to enhance
your understanding of the material? Did the fairy-tale book your
mother read to you include pictures of fairies, castles, and damsels in
distress? Those images helped to enhance your understanding of what
fairies, castles, and damsels in distress are and how they look.
Later, as you entered school and began learning the material some
adult somewhere decided you needed to learn, did your textbooks
include pictures and illustrations? Did those pictures and illustrations
visually explain the information the textbook author was presenting?
The answer, of course, is “yes.” If the author and publisher did their jobs
properly, every image and illustration used within the book was
designed to enhance your understanding of the material.
That is because we human beings are visual creatures. We depend
on our eyes to convey information to our brains that we then use to
improve our lives. Our very survival sometimes depends on our sense
of sight. Do you doubt the veracity of that statement? Go to a busy
intersection in your city or town and stand on the corner. Close your
eyes and listen to the traffic as it swishes past the corner. With your
eyes closed, can you tell when it is safe to cross the street?
That exercise is near and dear to my heart as it is the same exercise
my father, blinded in World War II, taught me at a young age when
conveying the importance of paying attention to one’s surroundings. A
lesson especially necessary if one is to guide a person who is without
sight. My father used his knowledge of sight, and its visual cues, to
transfer the knowledge of (1) using landmarks to find one’s way
between destinations, (2) when it is safe to cross a busy street, (3) how
to guide a blind person around, over or under obstacles with minimal
safety risks, (4) count money, and (5) appreciate art and how artists use
their work to convey ideas.
You see, my father was a budding artist of some small renown in his
hometown before he was drafted and inducted into the army. And like
artists everywhere, he used his drawings to convey emotions, ideas,
and concepts that touched peoples’ hearts and moved them
emotionally. While he lost that ability when a sniper’s bullet stole his
sight, he never lost the knowledge of how to do it. And he passed that
knowledge to his children.
Like my father, others have used art to convey ideas, stir emotions,
and move people to (1) buy a product or service, (2) learn a new
concept or idea, (3) communicate with peers, and (4) transfer
knowledge. And it is that principle, sharing what one knows through
art, that we will explore in this book.
Knowledge transfer (KT) is not new. Oh, sure, there has been a lot of
hub bub around KT over the past 50 years or so, as the college
graduates from such prestigious universities as Yale, Harvard, and
Princeton, which lead many of the nation’s top businesses, began to
realize their precious corporations were going to fail if they did not find
a way to retain the knowledge locked up inside the heads of their soon-
to-be-retired experts – just common sense to us but something these
“graduates” had to hire teams of experts and spend millions of dollars
in consultation fees to “discover.” How sad.
I have never understood why it is that a corporation ignores its own
experts only to spend millions of dollars to bring in “experts” to tell
them what their own experts have already told them. In fact, my
experience is that the outside “experts” come into the organization and
spend weeks interviewing the organization’s experts, asking them for
the solution to the problem, only to include that very same solution as
the solution in the report they finally deliver weeks and sometimes
months after completing the investigative part of their contract. And of
course, they charge millions of dollars to the organization for that
privilege. And that is legal!?
One benefit to come out of that widely accepted scam is the need for
the organization’s experts to transfer their knowledge to those who
come after them. That led to the creation of knowledge transfer
programs, which, in turn, led to the creation of professional training
and development departments within the organization. And that led to
you discovering this book!
As an educator or training and development professional, you know
the importance of keeping your audience – your learners – engaged in
their learning activities. As a lifelong learner, you know that many,
many, many learning activities are boring! And the last thing you want
to do is sit through hours upon hours of mundane content.
No, you would rather enjoy your learning activities, which is one
reason why virtual worlds and 3D online gaming have taken the world
by storm. Researchers, such as Gee (Gee 2005), quickly discovered that
computer games provided learning scenarios that could be adapted to
real life. For example, World of Warcraft, a very popular massively
multiplayer online role-playing game, played by millions of people
around the world, teaches teamwork, critical thinking and reasoning,
reading comprehension, mathematics and statistics, spatial reasoning,
how to behave in different cultural settings, perseverance pays off
(practice makes perfect), and many other real-life skills. And it teaches
all that in a fun, engaging virtual environment that keeps learners
coming back time after time and spending their hard-earned money for
the privilege.
Academics, too, have known the benefit of using games to engage
learners. I remember my elementary school teachers using games as a
reward for learning whatever activity my teachers had planned for that
day. In fact, Mrs. Zipperson, my second-grade teacher, used the games of
bingo and hangman to teach spelling. Mr. Harvey, my fifth-grade teacher,
used an autoharp and songs to teach vocabulary. And of course, our
physical education teachers used games to ensure our developing
bodies received the exercise they needed (shhh, do not let the kids
know their “fun” equals “exercise”!).
These examples support the idea that engagement and interactivity
are necessary if we want our learners to continue in their development.
However, it is beyond the budget for most companies – especially the
smaller ones – to hire teams of game developers, artists, voice-over
actors, audio engineers, and musicians to design and launch computer
games designed to teach their employees the many skills they must
have to ensure the company’s success.
So what can those companies do to provide adequate training while
keeping their employees engaged?
Is the term Death by PowerPoint familiar to you? Generally accepted
to have been coined by Angela Garber (Garber 2001), Death by
PowerPoint is the phrase used to represent the most acceptable
method of torture used by corporations the world over – making their
employees sit through hours upon hours of boring, poorly designed
visual presentations, usually created in a presentation medium such as
Microsoft PowerPoint®.
PowerPoint, Prezi, and other presentation software have been used
to create everything from sales pitches to academic lectures, business
dashboards, and ineffective instructional content delivered via
organizational Learning Management Systems (LMS). It is almost as if
the developers of the currently available presentation software were
sadists in their past lives…. While PowerPoint does have its uses when
its presentations are designed properly, it has been overused. I
recommend those training and development professionals serious
about engaging their learners and transferring knowledge quickly,
consider other options available to them.
One such option is the focus of this book: Mental Canvas.
Mental Canvas is the brainchild of a team of researchers at Yale
University. Led by Julie Dorsey, the Frederick W. Beinecke Professor of
Computer Science (Mental Canvas 2016–2022), the team has created an
application that takes drawing to a whole new level! No longer are
artists and graphics arts professionals limited to static two-dimensional
drawings that present information in one plane. Using Mental Canvas,
artists can now elevate their art to present their ideas in fun and
imaginative ways!
Mental Canvas comes with a set of drawing tools familiar to artists,
allowing them to create on any touch screen device with an active pen.1
Using layers, similar to those used in Adobe Photoshop®, GIMP, and
similar software, artists can now present their ideas in a three-
dimensional world. Using hinges, they can hide information, allowing
users to manipulate the scene to reveal that information. Because the
canvas is infinite, artists can create scenes with panoramic views,
allowing their users to navigate through the scene, discovering
information as they journey through it. Think of it as a poor man’s 3D
virtual world – without the need for programming expertise!
As we journey through this book together, I will explain each feature
of the Mental Canvas application and provide practical exercises that
will allow you to quickly develop your skills and expertise with the
software’s tools.
I will also suggest real-world use applications so that you may
quickly develop engaging interactive presentations for use within your
organization’s training and development programs.
Finally, you will hear from three of the winners of the competition
Mental Canvas held for various categories of use. They explain, In
His/Her Own Words, how they came to use Mental Canvas and what
their experience has been.
 The conventions used to explain the material are similar to other
such books. The body of the text will be written just as the preceding
paragraphs are written.
The In His/Her Own Words sections will be presented on their own
separate pages, while the objectives and practical exercises will be
offset in separate boxes, allowing you to differentiate them from the
body of the book.

Figure 1 Example objectives information text box

Figure 2 Example practical exercises information text box

 It is my sincere hope that you will find Mental Canvas as fun and
exciting as I have. So, without further delay, let us begin the journey!

Bibliography
Garber, Angela. April 1, 2001. Death by PowerPoint.
www.smallbusinesscomputing.com/software/death-by-
powerpoint/ .
Gee, J.P. 2005. “Good Video Games and Good Learning.” Phi Kappa
Phi Forum (The Honor Society of Phi Kappa Phi) 85 (2): 33–37.
Mental Canvas. 2016–2022. The Mental Canvas Story.
https://mentalcanvas.com/about .
Any source code or other supplementary material referenced by the
author in this book is available to readers on the Github repository:
https://github.com/Apress/Mental-Canvas-for-Training-and-
Development. For more detailed information, please visit
https://www.apress.com/gp/services/source-code.
Acknowledgments
I would like to acknowledge the following people at Saudi Aramco:
Muhammed Ovais – My peer and co-worker. Together we were
privileged to guide many senior staff through the development of
competency-based training and development maps. You kept me
sane and became one of my closest friends in Saudi Arabia.
Rheman Aktar – I cried with you when your first wife passed, and I
celebrated with you when you were blessed by God with a new wife.
Your positive outlook on life even in the face of extreme hardships
was a blessing to those of us privileged to call you teammate. We
enjoyed good food and great companionship. I miss that.
Dr. Edward Shelton – Your books and ideas on transformational
leadership and your mentorship of each of your teammates were
truly inspirational. It was a privilege to have you on my dissertation
committee.
Tony Arden – Perhaps one of the best division heads I have ever met
and worked for. Not only did you counteract the transactional
leaders’ poor decisions, you took them under your wing and actually
helped them change from poorly respected transactional leaders to
transformational leaders others would follow.
Rheem Ghanim – You were the model by which I measured all other
division heads for whom I worked. You were the reason I was
privileged to work for Saudi Aramco, and you taught me what true
transformational leadership is. Thank you.
I would also like to acknowledge the following people at PetroSkills:
J. Ford Brett – Your vision and leadership inspired me to learn and
understand what competency-based development is.
Ron Hinn – Together with Ford, you gave this old goat the chance to
share his knowledge and ideas with leaders from all over the world.
And I would like to acknowledge the many professors in the
instructional design program at Capella University. Special recognition
should go to Dr. Jim McDermott, my dissertation committee chair. You
motivated me to keep writing even as I suffered the loss of both my
parents. Your mentorship will be remembered fondly for the rest of my
life.
And finally, to Dr. Julie Dorsey and the team of researchers at Yale
University. You envisioned a world in which 2D digital art could come
alive in a 3D world. Without you, Mental Canvas would not exist!
Table of Contents
Section I: Overview
Chapter 1:​Overview of Mental Canvas
Requirements
Licensing
A Closer Look at Mental Canvas
Launching Mental Canvas
Orientation
The Views’ Common Elements
Summary
Bibliography
Mental Canvas:​The Origin Story
Section II: Your First Scene and Managing Its Files
Chapter 2:​The Scene and File Management
File Management Overview
Creating New Scenes
Saving Your Scene
Closing the Application
Opening Your Scene
Additional File Management Functions
Summary
Bibliography
Chapter 3:​The Drawing Mode:​The Basics
Getting Started
The Drawing Mode Tools:​The Basics
Making Selections
 Choosing a Brush
Summary
Bibliography
In His Own Words – Greg Edwards
Chapter 4:​The Canvas
The Canvas
Adding Depth to Your 2D Image
Adding New Canvases
Adding Hinges
Working with Existing Canvases
Summary
Section III: Layers, Bookmarks, and Beyond
Chapter 5:​Layers and Importing Images
Working with Layers
Importing Images into Your Project
Importing Images onto Your Layers
Editing Images
Importing Layers from External Sources
Summary
Chapter 6:​Bookmarks, Timings, and Animation
A Word About Working in 3D Space
Bookmarking to the Rescue!
Using Bookmarks to Create Animations
Timeline Tab
Visibility Tab
Sharing Your Scene
 Two Options
Summary
In Her Own Words – Snow Wi
Section IV: Projects
Chapter 7:​Project 1:​Office Fire Safety Part 1
Accessing the Files
Lesson 1:​Creating the Scene
Lesson 2:​Adding the Files
Adding Your First Canvas
Lesson 3:​Repositioning Canvases (1st Rabbit Trail)
Lesson 4:​Keeping Your Canvases and Layers Organized (2nd
Rabbit Trail)
Renaming Layers
Renaming Canvases
Reorganizing Layers and Canvases
Layers
Canvases
Lesson 5:​Adding More Canvases
Importing Images to Layers
Projecting Layer Images onto New Canvases
Projecting a Hinged Canvas
Projecting More Layer Images onto New Canvases
Importing Multiple Images Simultaneously As Layer Stacks
Lesson 6:​Merging Layers and Projecting Merged Layers onto
New Canvases
My Recommendation
Onion Skinning for Image Placement
 Lesson 7:​Canvas Panel Tools Review (3rd Rabbit Trail)
Lesson 8:​Duplicating Layers
Summary
Chapter 8:​Project 1:​Office Fire Safety Part 2
Lesson 9:​Importing Images to Canvas Stacks
Lesson 10:​Building the Presentation
A Quick Review
Adding the Story
Refreshing the Bookmarks
Building the Presentation (Continued)
Adjusting the Bookmark Timing
Exporting Your Video Presentation
Showing Aspect Ratio Boundaries
Exporting Your Web Player Presentation
Summary
In His Own Words – Abhisek
Chapter 9:​Project 2:​Office Safety
Recommendations
Lesson 1:​Creating the Scene
Lesson 2:​Building the Project
Lesson 3:​Exporting the Project
For Video Export
For Publishing to the Mental Canvas Web Player
Enhancing Your Exported Video
A Word About Artificial Intelligence
AI and Copyright
 AI Prompting
Summary
Section V: And Finally…
Chapter 10:​Summary of Our Mental Canvas Journey of Discovery
Final Discussion
From the Author
Index
About the Author
Dr. Michael Commini
recently retired from Saudi Aramco, the
world’s largest oil company, where he
designed, developed, and delivered
workshops for competency-based career
succession as well as competency-based
development maps. He built and refined
his experience in training and
development while serving in the US Air
Force. After leaving the Air Force, he co-
founded TechNET Software
TeKnowledgies® (TST), an educational
software development company. Among
TST’s clients were the Texas Naval
JrROTC, the Saenger Organization, UPS®,
and Lanier Worldwide®. In addition to
his work with TST, Dr. Commini served in the 1990s as a college
professor teaching electronics, mathematics, computer networking, and
data communications for ITT Technical Institute. He was also privileged
to have worked at the US Joint Forces Command, Joint Warfighting
Center, Joint Knowledge Development and Distribution Capability,
where he was the lead knowledge management analyst and project
manager for one of the world’s largest and most diverse instructional
design teams prior to moving to Saudi Arabia. He now resides in the
Dominican Republic with his dog, Diamond, where he meets people
from all walks of life and smokes good cigars.
Footnotes
1 Note: At this time, Mental Canvas is only available on Microsoft® touch screen
devices with active pen and Apple’s 3rd and 4th generation iPad Pros with Apple
Pencil. Older generations of iPad Pro and other Apple iOS devices may be able to run
the application. Also, some PCs running Windows 10 or higher may also be able to
run the software. Mental Canvas is not yet available for Android devices. A full list of
compatible devices may be accessed by visiting the following website:
https://mentalcanvas.com/faq#recommended-hardware
Section I
Overview
© The Author(s), under exclusive license to APress Media, LLC, part of Springer
Nature 2023
M. Commini, Mental Canvas for Training and Development
https://doi.org/10.1007/978-1-4842-8774-3_1

1. Overview of Mental Canvas

Michael Commini1
(1) Santa Fe, NM, USA

Mental Canvas was created as a result of research conducted by a team

at Yale University led by Dr. Julie Dorsey, the Frederick W. Beinecke
Professor of Computer Science. The team’s mission was to bring
drawing on digital devices into the 21st century, changing the way we
think of creating artwork forever (Mental Canvas 2016–2022). No
longer would creatives be limited to static two-dimensional (2D)
images.
Rather, using the Mental Canvas application , they are able to create
2D with a three-dimensional (3D) aspect capable of being scrolled,
panned, and exported to the Web as video fly-throughs and with which
we can interact.1
This chapter will provide an overview of Mental Canvas
fundamentals that will be used in the rest of the book. The objectives of
this chapter are as follows.
The Mental Canvas files can be edited cross-platform, used by teams for
collaboration, shared with colleagues, or created and edited by single
users. According to the Mental Canvas website , using the application
allows creatives to
Create quick animations (called Animatics by the Mental Canvas
team)
Uncover and hide details
Show elements in context
Change viewpoints
Annotate and elaborate
Reuse, refine, and adapt elements of a drawing
Mix media, photos, graphic art, and drawing (Mental Canvas 2016–
2022)
Essentially, the end product is “an interactive, immersive spatial
drawing” (Dorsey and Nassour, 2021).
By editing exported videos with computer software such as Adobe
Premiere Pro® , iMovie® , and similar postproduction applications,
audio tracks can be added, giving your videos another way of
interacting with your clients. By using software such as TechSmith
Corporation’s Camtasia® , it is possible to add text box pop-ups, audio
tracks, and URL hotspots.2
The Mental Canvas application is available on the Mental Canvas
website: https://mentalcanvas.com (see Figure 1-1). Currently,
it is only designed for use on Windows® and iOS® devices. The Mental
Canvas team is exploring porting the application to Android devices,
but at the time of this writing, it cannot be used on the Android
platform (Mental Canvas 2016–2021).3

Requirements
To be able to download and run the Mental Canvas application , you
must have a touch device running Windows 10 and an active pen. iOS
users must have an iPad Pro 3rd or 4th generation and an Apple Pencil .
Figure 1-1 shows an example of the download screen on the Mental
Canvas website.

Figure 1-1 The download page on the Mental Canvas website

Licensing
Figure 1-2 shows the licensing options for the Mental Canvas
application. Available options are dependent upon which license you
select.

Figure 1-2 The Mental Canvas licensing options

The Promo license is free to use; however, Publish to Web is not

available, and videos are watermarked on export. How long this license
will remain available has not been announced by the Mental Canvas
team.
Figure 1-3 shows a comparison between the remaining plans. The
recently announced Creator plan is available for a one-time purchase
fee. Currently, the plan only allows for one public interactive web scene
and does not include new features or private training.
As can be seen, the only difference between the Education plan and
the other plans is the amount of training and support available to the
end user.
 The Professional plan can be used by individual creatives working
alone or with other creatives also holding a Professional plan license. It
is suitable for small organizations with one or two creatives on staff.
The Enterprise plan is for use by teams working in a collaborative
environment. It is suitable for larger organizations with several
creatives on staff. This plan also includes a dashboard to manage seat
licenses and project consultation for assistance with team projects.
If none of these plans fit your organization’s needs, contact the
Mental Canvas team and inquire about custom licensing packages. A
Contact us link is provided under the license plan options. Clicking the
link opens an email window in your system’s email application. For
Apple devices, the default is the Apple Mail app.

Figure 1-3 Mental Canvas subscription plan comparison

There is one other option available that any organization can utilize,
but that may be especially appropriate for those organizations without
creatives on staff. Mental Canvas Studio (see Figure 1-4) allows the end
user to contact the Mental Canvas team for the creation of custom
content. Their team of creatives will, for a price, take an organization’s
project idea from concept to finished media. Contact with the Mental
Canvas Studio team is possible by visiting the Mental Canvas website,
clicking the link for Studio, and scrolling down to the bottom of the web
page. I do not know what the response time is.4

Figure 1-4 Mental Canvas Studio

A Closer Look at Mental Canvas

In the following sections, we will begin our exploration of the Mental
Canvas application. This includes launching the application, device
orientation, the Viewing and Drawing modes, and common elements
between the views.

Launching Mental Canvas

When you launch the Mental Canvas app on your device, you are
presented with the Splash Screen (see Figure 1-5).
Another random document with
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766
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750

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123-125

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118-120

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113
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116

117

119

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115

116

Occupation,

118

Pulmonary consumption, relation to,

119

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117

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116

History,

109

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121-123

Prevalence,

110-113

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126

Percentage of recoveries,

126

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127

Asylums, methods of commitment to,

134

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127

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137

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137

138

Rest and sleep, value of, in,

137

Sedatives and narcotics, use in,

133

137

Insanity complicating

174
Insanity from Specific Poisons

175

Organic

176

General paralysis of the insane,

176

Definition,

176

Diagnosis,

197

Etiology,

177
 Age and sex,

177

Excesses, influence of,

177

Heredity,

177

Mental shock,

178

Syphilis,

178

History,

176

Morbid anatomy and pathology,